biro

I have tried them all. Best solution, in my view, and it's not close, is the JamOrigin MIDI Guitar / MIDI Bass Solution WITH a hexaphonic pick up (it works well without, too, but if you are doing chordal work the hexaphonic makes an enormous difference). If you want something to be used without a laptop, a GK-3B + GR-20 will do. All that said, I do not think it is entirely true to say that pitch to midi is a complete non-starter. But you do have to play differently – for example, if you are playing a bass synth line with a fast attack sound, then you'd be advised to play that one (or even two, if possible) octaves up. it's a world of trade offs. It can work, but you need to be aware that it is a different animal. Here is an example from a few months ago, with the much worse MIDI Guitar 2.

Ah, just some little rubber feet I had for a shelf. One sure fire way to avoid digging into the wood with my fingernail!

Oh, wow, the 1306 series is incredible. Here is mine, with the sandwich body, which actually now has coil splittable EMG TWX pick ups.

Would love to find the right 305E—not a fan of the EB matte finish.

The 300 range has no business being such a good deal. It’s honestly incredible. I am not a huge fan of the nordies on their own, but I think I have understood that the key with them is to do some surgical cutting when needed. They are a quality product. US Barts are an acquired taste, but they record so well.

I am mostly in agreement. I would say that the difference is a night and day difference if you know exactly what to look for. In terms of craftsmanship and finishing, I don’t think that they are really comparable. Now, whether that matters tone wise is an entirely different question. In terms of playing, my favourite bass is a Premium (after a fret levelling job), and I do think it is an exceptional instrument. however, while the Japanese Prestiges I have are not without their quirks, but out of the box they are the better instruments and the woods and finish are truly top notch—same level as Yamaha Japan or ESP Japan. In both cases you would get an extremely reliable, robust, and well-designed instrument. Either, IMO, would be far better made than US Fender (or even music man in my experience), and if there is anything to fix it will normally be the things that you have to fix anyways (a fret level etc).

Very late to this. It is a known issue on a previous generation of SR premium models and generally resolved with using the stock strings—which you are using. It’s normally only an issue on the B and E. If that does not sort it, and the but is cut properly, the one solution is to physically move the saddle. Not great, but fixable.

Might app Might apply more to older TRBs as they really were ubiquitous. Then again, I don't have anything more than anecdotal evidence.

I bought a TRB1006J and it has become pretty much my go-to bass. I also have several Japanese Soundgears and I think the quality is up there. The Yamaha's wide neck and flat (40") radius is amazing—I think there is a reason why they are an industry standard!

I finally caved and bought a TRB1006J. I had tried them before, but for some reason never gelled with them. For whatever reason, this is just fantastic—the tone I've been after for a while.

I have the satinwood version and it’s my favourite bass of all time. Great acquisition!